Ed Hale is a man that certainly likes to keep himself busy. He began his career at the age of 17 as Eddie Darling, and hasn’t really slowed down since. Be it as a singer/songwriter, author, or activist, he is always up to something. He speaks six languages, and records both as a solo artist, and in his group, Ed Hale and The Transcendence. Hale has released four albums as a solo artist, and The Great Mistake is his sixth full-length with The Transcendence.
The Great Mistake is a turn from Ed Hale and The Transcendence’s previous albums. It’s not trying to be deep or complex this go round. Its aim is much more straightforward and fun. Like repeated punches to the gut, you get blast after blast of quick rockers that rarely break the three minute mark.
Read full review here: http://www.muzikreviews.com/reviews.php?ID=2568
In January 2005 NYU Grad student Meera Subramanian, a journalism major, shadowed Ed Hale around for three weeks as a class assignment to write an article for her school paper. Read the article below:
Seek and Ye Shall Find: Ed Hale, Music, & the Meaning of It All Author: Meera Subramanian
Ed Hale is warming up over a steaming cup of Dunkin’ Donuts decaf. He talks about, among other things, his weekly schedule (French language lessons one night, kickboxing classes another), his ambitions for a reality television show where he interviews a famous Bishop and other random people, his novel in progress entitled The Cosmos is Great and Large, Darn Right, (“like Huck Finn with superheroes”), and about the Army General’s uniform that hangs in his closet. Dressed in black fitted jeans, a black DKNY shirt, and black boots, he slips easily into the New York City landscape, recently transplanted from his native Florida. His curly, shoulder-length brown hair is pushed back from his face with a pair of dark sunglasses, also DKNY, and his heavy-lidded blue eyes are eager as he talks about everything and everyone that gets him excited, punctuating his explorations with an easy laugh and expressive stretching out of words like “brilll-yant!” This is all on decaf, remember. But Ed Hale is, by profession, a rock musician. Lead singer of the band originally named Ed Hale and the Troubadours of Transcendence, shortened to Transcendence by fans that filled Miami venues. Singer-songwriter, guitar and keyboard player, Hale’s sound is reminiscent of Bowie, U2, and the Beatles blended with a unique world-beat undercurrent. His music has been described by reviewers alternately as lush, original, bland, well-crafted, perverted, mildly entertaining, and hauntingly familiar yet futuristic. By no means a music critic, I hear good ole rock ‘n’ roll, heavy on guitars and drums, with a solid driving beat. A few of the tracks on Transcendence’s third album, Nothing is Cohesive, which is being released this month, slow down more than usual and become a dreamy mix — love songs to Brazilian singer Caetano Veloso, or Hale’s own sense of becoming.
Ed Hale is a work-in-progress, a man evolving. It’s easy to forget that music is even Hale’s first passion, what with all his talk about emerging consciousness and revolution. And money. And women. Oh, and religion too. Not necessarily in that order.
He says: “honestly, seriously, everyone thinks I’m thirty,” but the faint lines on his high forehead and smile lines around his mouth reveal a few more years. He’s old enough to have become established as a world renowned musician as well as in other more practical realms. “My non-capitalist days are behind me. I’m a capitalist,” he says off-handedly. “I own companies.” Was it four, or five that he mentioned? Vitamins. Real estate. A record company. “I believe in social responsibility,” he says, but he drives around in a convertible BMW. “I dig that stuff. That’s why we have America. It doesn’t mean that you don’t give.” And he does give. One friend, Kerri Huckabee, remembers learning that Hale was sponsoring kids in need all over the world and cutting checks to numerous churches and charities each Christmas. “He didn’t even mention it. He just does it. We go out to dinner and then drive around town looking for a homeless person to give the leftovers. And then Ed gives them money too. That’s how he is.”
It was in this spirit that Hale sought out protest leaders of the anti-globalist movement when they arrived in Miami in 2003 to oppose the Free Trade Area of the Americas agreement. He’d watched the 1999 WTO protests on television and been inspired enough to write the song, “The Journey (A Call to Arms)” from the band’s 2002 album Rise and Shine that he describes as a “wake-up call for his generation.” He walked into the makeshift welcome center of the protest movement, where organizers from groups such as United for Peace and Justice, SmartMeme, and the Citizens Trade Council were scrambling with limited resources to organize thousands of people. “I’m wearing shiny pants and my hair’s all coiffed,” Hale recalls. “I said, ‘I want to help you. What do you need?'” He offered the headquarters of TMG Records (one of his companies) for the week, located in one of the buildings he owns. They moved in and set up shop.
“I expect rock stars to be assholes,” explained Patrick Reinsborough of San Francisco-based SmartMeme, “But Ed Hale was quite an angel, and he’s got CDs! He sounds like Bono!” Hale set up the new Media Convergence Center for these total strangers with seven phone lines and Internet access on the spot. “We named the space Transcendence,” said Reinsborough, “an incredible place of calm in the middle of a police state.”
Hooked on street protest, Hale went costume shopping. An Army General’s uniform seemed perfect, and when the Republican National Convention hit New York City, he tucked his long hair under a hat, painted a sign that said “Peace!” on one side and “World â€“ We’re Sorry!” on the other and stood silently, “acting like a fucking pissed off army guy” among the thousands that had gathered.
Raised Catholic by his single mom as she moved him and his brother from town to town in pursuit of work, Hale said, “I lived sixteen towns before I was eleven.” Now, he explains, “I’m not a believer but I like going to church.” Church is just another place to soak up the nectar of life. “Most people write off religion. Sometimes I do and sometimes I don’t. My soul believes in God, but I don’t, ya know? It’s weird.”
His latest focus is the all-black Abyssinian Baptist Church in Harlem, where he recently inquired about membership, mainly to avoid having to stand in line with the other white people who come from all over the world to visit the house of worship listed in Frommer’s guides in every language. Emerging from a recent service on a cold winter day, he sums it up: “It gives me juice.”
But getting juiced up in Harlem isn’t enough. When it comes down to it, Hale’s better at squeezing his own juice than drinking up others’. An idea sprang out of his time with the protest organizers in Miami, where he was inspired to organize an impromptu roundtable discussion with all the activist leaders present. He found a filmmaker to record the session, with the idea of posting it on his website (www.transcendence.com) for fans to experience. Then he thought, why not do more of this? Why not take it to television?
For example, what would a rock singer and an Episcopalian Bishop have to talk about? Hale spent a year and a half getting the runaround before he finally landed an interview with the controversial Bishop John Shelby Spong (best-selling author of the book, Why Christians Must Change Or Die). With cameras rolling, Hale and the Bishop ended up talking for five hours in the study of Spong’s New Jersey home, where they covered everything from the state of religion to Hale’s personal theories. (Done with the “Age of Technology,” Hale claims, the “Age of Personal Expression” is next, and with it will come complete human evolution, where mankind becomes humankind. “That’s where we are now, the Personal Expression Age. But who am I to name an age?” he asks with a laugh, but it’s not necessarily a rhetorical question.)
While the Spong interview was years in the making, Ed Hale is just as likely to have as intense a conversation for just as long at, say, a cafÃ© on the Upper West Side on a Sunday afternoon, where he recently befriended a Metropolitan Opera singer. Kevin Chap, CEO of Polar Productions, describes Hale as a “true social butterfly. It wears off on the people around him.”
Chap and Hale are transforming the recorded interviews into a pilot for Transcendent Television, which Hale describes as reality TV meets talk show. Chap calls it: “A look at life from the other point of view.”
Whether a studio like 20th Century Fox is willing to pick up a reality television show with people talking, as opposed to undergoing radical plastic surgery or eating worms, has yet to be determined. Chap said, “Ed likes to see the best in human nature. He wanted to bring the hopefulness of humanity back into reality television, but the reality TV business is not necessarily based on that concept. Would people rather watch a baby being born or a car accident? Unfortunately, it’s usually the car accident. Transcendent Television is a brilliant idea though. We will see.”
The Seeking Continues
But for all the flash that Hale portrays – the glossy albums with young naked women, the sunglasses after the sun’s gone down, dropping up to a grand on clothing a week â€“ Chap considers Hale “a stubborn headstrong artist” unwilling to sell out. In an Ink19 review of Rise and Shine, Transcendence’s first album, Hale is accused of just the opposite: “Hale…seems to admit that his brand of cross-cultural consciousness is nothing more than a way to buy hipster credentials and corporate consumer satisfaction.” But Chap contends, “Ed would rather take a loss than compromise his artistic concept.” Whether he is more pure to art than image is hard to tell. “Prostituting my integrity to secure this false celebrity,” he sings on “Bored” from the band’s latest album, Nothing is cohesive.
But really, most people don’t turn seeking into a lifelong quest. Most are quite content to do what needs to be done, settle down to quiet lives (Thoreau would say of quiet desperation) filled with simple pleasures and pastimes. When asked what the meaning of life is, they just shrug or refer to whatever particular religion they belong to for a convenient answer.
Maybe The Transcendence Diaries, Hale’s online blog written under the rubric of The Adventures of Fishy is more honest than Hale intended, when he writes, “Still finding myself obsessed with a quiet secret subtle and almost constant gnawing at my insides about the unbearable sadness of how impermanent everything is. Our lifetimes are short here. I remind myself that it is up to me to find meaning while I am here. I try to live my life to its fullest and even then I cannot shake the deep underlying knowing that they are all just moments lived and then soon forgotten. Where is the meaning in that?”
Meera Subramanian is a grad student at NYU majoring in journalism. She lives in Brooklyn, New York. She can be reached at firstname.lastname@example.org
Up from a respectable 111,200 readership in late December 2004, the Transcendence Diaries hit a new milestone on February 2nd 2005 â€“ a record 150,183 unique visitors logged in to read the latest adventures of Fishy and the entire cast of characters that make regular appearances in the blog known as the Transcendence Diaries.
The Transcendence Diaries was an experimental project started by Ed Hale and TMG Records art director Eduardo Silva in early 2002. Before the advent of what are now commonly referred to as â€œblogs,â€ short for â€˜web logs,â€™ the idea was to post a daily journal for transcendence fans to read the latest in the daily saga of life in a rock and roll band and anything else Ed felt like writing about each day. Soon designer Paula Kobrinsky was enlisted to build a frameset interface that would ensure privacy from pesky search engines — as one may notice, there are no URL address bars in the diaries whatsoever. It is a very unique set-up. This was done deliberately to avoid casual surfers from happening upon the diaries. The Transcendence Diaries are a private affair reserved for Transcendence fans.
The entries have continued to be updated on a daily basis for three years. The Transcendence Diaries now clock in at over 1,100 pages, with over 59,000 separate files having been uploaded between text, graphics, and music files.
Of course, itâ€™s only a matter of time till the infamous Fishy is dragged out into the streets, hung, stoned to death, or burned at the stake for his rebellious and often insane ramblings. But until that time, all is well. Log on now to read what all the fuss is about before itâ€™s too late. And thank you for reading.
TRANSCENDENCE was recently interviewed for an article in New Times. Click here to read the article. Or scroll down read the entire interview transcript. This is one of the best interviews the band has ever given. Good questions and answers, it catches the guys in great spirits and is much more in depth than the final article.
Complete New Times Interview from the article Transcendence — Brighten the Corners. Originally appeared November 4th, 2004
October 19th, 2004
Lee Zimmerman, Staff Writer, New Times Miami
Lee Zimmerman: First some biographical stuff – how did you guys get together – can you give me a time line?
Ed Hale: Our original drummer Ricky and I first started jamming together in â€˜99. He had just moved from DC and was used to playing for huge stadium sized audiences in his homeland of Bolivia . He was used to jazz and Latin and funk styles mixed with a little bit of rock. I was just out of the Miami band Broken Spectacles which was a rock band. I was obsessed with world music styles at the time because they were all so new to me and he was really excited about the possibility of playing rock, so we decided to try to merge the two. We found other guys from Miami who were into the idea of this strange mix and the RISE AND SHINE album is what came out of that eventually.
Fernando joined the group because I got a call from Rich Ulua in Miami who is a local manager and record company owner who just flat out said â€œEd I found your guitar player last night; he is amazing and you should call him like right now. You guys could really make magic together.â€ I did call him and we realized that we had the exact same influences in music and in what we were trying to do as artists ourselves. I am very honored to play with him. He is a genius.
Fernando Perdomo: I was fully aware of the quality of Ed’s songs and was becoming a fan when right around the time Transcendence’s previous guitarist left the band my father tragically passed away…this was April 2002… Less than 24 hours after his passing I showed up to play a set with another singer at a club to get away from the ugly scene at home…Word had already spread of his passing …. I walked in the club and transcendence was on playing a song called Keep Moving On… [from the Sleep with you CD] When Ed saw me he said “This song is dedicated to Fernando. Keep Moving On Fernando… Keep Moving on…’ I burst into tears and used those words as a mantra to better myself as a musician and a human being… I asked Ed if I could join and have been in the band ever since…
Ed Hale: Roger came on board because Fernando told me he knew this kid just out of high school who was a total misfit because he only listened to music from the sixties and early seventies and that he would fit in with us perfectly. He wasn’t even twenty at the time. I asked him who he dug and he mentioned T. Rex, who is one of my biggest influences and I couldn’t believe that I was standing there talking to someone else who liked T. Rex in Miami . It was an epiphany. I asked him what he was looking for in a band and he just quietly shrugged as he is prone to do and said, â€œjust something that people like.â€ I told him â€˜well I can’t promise you that, but I can bet we are going to make some really awesome music together.’
Roger Houdaille: Fernando and I have been friends and musical collaborators since high school and when Transcendence found themselves in need of a bass player, I was quickly asked to audition. Soon, I was introduced to Ed and he was in shock that I was a fellow Marc Bolan/T. Rex fan. I passed the audition on June 28, 2002 to be exact, the day John Entwistle died. Bringing Fernando and I into the group definitely inspired musical change, bringing a more indie and classic rock vibe into Transcendence, leading up to our latest release Nothing Is Cohesive.
Ed Hale: Our current keyboard player Allan Gabay had just relocated from New York and recently had graduated from the Manhattan school of music with a degree in music and classical piano. He is brilliant at piano and again just had all the same influences. He was coming from the same place. I asked him who he was listening to at the time and he said Stravinsky. Because I was at the time in a pretty heavy Shostakovich phase I was so happy to know someone who not only had all the same tastes in rock and pop musics but also could bring that whole classical vibe into the group it was a natural fit. And he’s totally crazy like the rest of us so that really helps.
Bill Sommer: I don’t know about any of that. But I met Ed in March of 2003 when they were looking for a fill in drummer. My old band the Blinking Underdogs had gone belly up and a mutual friend who worked at the studio where Transcendence was recording Sleep with you put us in touch.
Lee Zimmerman: Where did the name come from?
Fernando Perdomo: I’m not aware of the origin of the name but I think it fits the band perfectly … before Transcendence I was enrolled in a high school rock program [Miami beach Rock ensemble] that got me started by learning and performing Beatles albums in their entirety… Then I became a major freelance guitarist in Miami and award winning composer… I have major label touring and recording experience but I prefer the creative freedom Transcendence gives me… It’s my dream band.
Ed Hale: Dude, you’re so cool to say that. I’m going to make love with you right now.
Fernando Perdomo: You are so gay! But in a good way.
Bill Sommer: Ed is very gay.
Ed Hale: No seriously. I’m not really gay. But seriously. The story is that because I had just gotten out of a very close knit organic rock band with four guys, the idea at the time for this new group was to have this really big groovy group of many players, almost more like a scene or a happening, playing all these different styles of music all combined into one based around my songs. Sort of like Zappa’s mother of invention or something. The original name for the group believe it or not was Ed Hale and the Troubadours of Transcendence.
Roger Houdaille: I have the original CD demo of that group actually.
Ed Hale: The idea being that we would travel around and put on these shows that transcended the norm of bands just playing one style of music. Well obviously that name didn’t last too long because most people either said â€œwhat?!â€ when they heard it or just started laughing. We soon became Ed Hale & the Transcendence, but then once Fernando and Roger joined the group we started to realize that the band wasn’t really just about me and my songs anymore. It had quickly turned into a real group effort where each member’s participation was just as necessary as the next guys so we just shortened the name down to Transcendence to reflect that.
Lee Zimmerman: What bands were you in prior to this?
Ed Hale: I was primarily just in broken spectacles. Fernando was in sixo, trophy wife, Fulano and other local notable bands like DC3. Roger was coming out of a lot of experimental groups like the BJ experience, and father Bloopy. Ricky was in a bunch of pretty popular Latin rock bands in South America . Allan had played in hundreds of bands over the years up in New York . And our new second drummer Mr. Bill Sommer had been in the blinking underdogs.
Lee Zimmerman: Please give an idea of your influences – who’d ya listen to growing up – who are you listening to these days?
Fernando Perdomo: Beatles, Blood sweat and tears, Todd Rundgren, King Crimson, Genesis, Yes, Kate Bush…
Ed Hale: You just said Bush. I thought this wasn’t going to be political?
Fernando Perdomo: Shut up. I’m also really into Jellyfish, Jason Faulkner . Now, I listen to a lot of Gentle giant, Phantom Planet, Keane, John Cale, Brand New Immortals, David Ryan Harris,
Ed Hale: We are all pretty obsessed with all music. We all buy hundreds of cds of all different styles and share them with each other. For me I started with bands like the Beatles and the stones and zeppelin and Bowie and T. Rex and Donovan and Lou Reed of course. And that made me a total outcast in high school because no one liked the old stuff. As a group I can safely say that we are all pretty obsessed with McCartney’s second solo album Ram. We can literally sit in the tour van on the way to a gig and sing the entire album together from beginning to end and not miss a note or a lyric. That one may be our touchstone if there is such a thing. Caetano Veloso from Brasil is now my favorite singer songwriter in the world; on our new album there is a song I wrote for him called Caetano. Lately I have been really obsessed with Metallica and Rufus Wainright if that makes any sense. I would like to find a way to fuse those two sounds together if it is possible.
Bill Sommer: Growing up, I was really into the grunge thing, plus the Black Crows and Led Zeppelin. Then I got heavy into the jazz thing in college, especially Miles Davis, Keith Jarrett, and Joe Lovano. Now it’s pretty much all indie rock. I’m loving the Strokes, the Mars Volta, Hot Hot Heat, and Radiohead are still my musical gods.
Lee Zimmerman: So how does a band from Miami get all this national press and so much airplay – I realize you must have hired an indie promoter – I know McGathy is a big shot but promoters and publicists cost money – how do you swing something like that?
Fernando Perdomo: Don’t know how to answer this one. Ed did it.
Ed Hale: We decided to start our own label and stop trying to depend on getting a record deal from a major label since we didn’t know if that was ever going to really happen. We knew we had fans because we were selling good quantities of our CDs so we just took it from a very business approach. Basically we just run our day affairs very business and we run our night affairs very much like a rock and roll band. We have indie radio promoters around the country who picked us up after the sleep with you album charted to #23 on the national specialty show charts. They just started calling us. Same thing with publicists. They would call up and say hey what’s up with this band and then I would pretend to be some record company guy on the other end of the phone and cut deals with them on the band’s behalf. They never knew they were speaking to a member of the group. It’s quite insane and hilarious actually.
Bill Sommer: The answer for the last two questions is the same. Ed is a smart guy. He treats the business side of the band AS A BUSINESS!!! Which most bands fail to do. Unfortunately, it’s absolutely necessary to do just that. Ed is on the phone all the time, making contacts, and putting our music into the hands of people that need to hear it. Sometimes, those people end up helping you out.
Lee Zimmerman: How do you get the bookings – isn’t it tough to get gigs when you’re not particularly well known in that given market?
Roger Houdaille: It is tough and this is where the band is the most weakest at the moment. Getting on the road.
Ed Hale: Hey we haven’t figured that one out yet. Rise and shine went to #1 in a bunch of markets like Portland , Maine and we had never even played there and still find it hard to get gigs in general. This is the biggest challenge of being an indie band, hands down.
Lee Zimmerman: It’s interesting that you’ve taken a reverse route – you have gained a national profile first before working on your local base – what was your strategy behind that? You made mention of the difficulty of a local band breaking in Miami – care to elaborate?
Ed Hale: Well we didn’t exactly break nationally overnight. We built a good local following, as big as you can I guess in Miami as a rock band. Our CD release party for the rise and shine album had over 400 people there, which was huge for a Miami band playing rock music. But in general Miami just isn’t a good place for rock bands at this time due to the demographics of the city now. Miami has an amazing group of world class rock talent. Artists like Matthew Sabatella or Jim Camacho or Alex Diaz are fucking legends in their own rights. Bands like Humbert or DC3 have reaffirmed my belief in rock and roll a hundred times over after seeing them perform on many a drunken night at Churchill’s or Tobacco Road. Zach Zischin is another one who is just fucking unbelievable at what he does. But unless a band gets the hell out of there and plays for audiences in the rest of the country it just isn’t going to happen. This was one of the first things the major labels started telling us when they would meet with us. they would tell us that number one we weren’t going to find a big enough audience in Miami making the kind of music we were wanting to make, and two that Miami is too far South to be a good touring base. That we needed to get our music out nationally. So we did.
Roger Houdaille: The fact that Transcendence is more popular in places like Gainesville and Long Island than their hometown Miami is personally not too surprising. With South Florida’s radio not interested in spinning our single “Superhero Girl” and a local music scene which has yet to find audiences, I think the smartest way to go about things is what we are doing … focusing on the rest of the world! Miami can be an amazing place, but very frustrating for any serious artist or band of non-Latin music.
Bill Sommer: Miami is just a hole when it comes to live music. Look at the scene. There’s no place for cool up and coming bands to play, except maybe I/O. You go straight from Tobacco Road to the Miami arena. My favorite bands rarely come to Miami , though they do hit other places in the States. I think that says something about the state of the scene. It’s a shame, because there’s tons of talent in Miami .
Lee Zimmerman: Tovar is pitching you to labels but you mentioned you have management elsewhere – so what’s the difference in the two functions?
Bill Sommer: Allow Ed to answer.
Ed Hale: John Tovar is a music man. He is a visionary of mammoth proportions. He has some of the best ears in the business and just really loves music. He’s first and foremost a music lover. He has been a big supporter of ours since day one but day to day management isn’t necessarily his thing as much as just trying to help bands get to the next level in their careers. Tovar is more like Babe Ruth rather than Tommy Lasorta. He knows how to hit the ball over the fence.
Lee Zimmerman: Can you give me an idea how you’ve spent the last week in New York and what the reception has been at the labels?
Fernando Perdomo: I saw 2 of the greatest performances I have ever witnessed. John Cale at the Avalon, and David Ryan Harris at Irving Plaza . The past and the future of rock and roll. Fell in love with a hofner les paul copy… enjoyed the company of 4 of my closest friends… my bandmates.
Roger Houdaille: New York was a pleasure to perform at, especially being part of the CMJ music fest. I was thrilled to hear John Cale was a part of the festival too, and managed to catch his intense performance at the Avalon, standing right next to Beck. I thought it was very fitting as I was intensely inspired by John Cale’s body of work while working on “Nothing Is Cohesive”. In fact, one may hear the influence on the very first note I play on “Nothing Is Cohesive”: The E flat bass over the E chord.
Ed Hale: That’s what you’re doing there? Dude that’s fucking cool.
Bill Sommer: That is fucking cool. But in answer to your question, New York was cool. The labels dig us. New York was all about preparing to put on a great show and hopefully more.
Ed Hale: New York was amazing for us. we spent most of our time rehearsing at a studio for the CMJ show. We rehearsed five hours a day for two days straight to get really tight and confident. We played the show and had a bunch of labels there and we spent another day doing photo shoots and having meetings. The thing about the major labels right now is that they are all consolidating more and more and hundreds of people are losing their jobs and hundreds of artists are losing their record contracts. So most of the label execs are scared shitless that they are going to be fired so they are very very careful who they sign and choose to work with. We are now at the point where we get calls from major labels every few weeks who are very passionate about our music or others who are just very passionate about our CD sales or radio airplay or national press, but again, they’re having a tough time selling their old established bands to the consumer at this point, let alone new bands…. it’s a crazy time in the biz. So our focus is just to keep on recording our albums and touring and making music that we love. When the time is right for us to hook up with a major that will happen. carry the water, plough the field. Wait for the signs.
Lee Zimmerman: All your albums have had a different sound – isn’t that a handicap for a new band such as yours? Don’t labels, the press etc. find it confusing? Nowadays, the industry likes to hang a tag on a band but in your case that’s gotta be tough – was this deliberate on your part – and doesn’t that make it tougher to connect?
Fernando Perdomo: o.k. listen… take Elton john- you’ve got Open Sky- Elton the poppy psych flower child. Elton John- Elton The mellow songwriter. And Tumbleweed Connection- Elton does Americana . Great album…
Roger Houdaille: As a real artist, one just has to work the magic and hope the audience can keep up and stay interested in what you do. Ed moves very fast, and so does Transcendence. Right now, I’m trying to convince the band to lose the electric guitars, fancy keyboards and full drum set and do an English language Bachata record. Then we will break in Miami for sure!! Please stay tuned for our future releases! The industry is no friend to a band, unless the band wants to be pigeon holed and die fast and be uninspiring.
Fernando Perdomo: o.k. seriously, I have it. Radiohead. Pablo Honey- Grungy Sloppy Radiohead. O.k. Computer- Genius, trippy Radiohead. Kid A- Radio head does ecstasy.
Bill Sommer: O.k. we get the point. Seriously, I think, marketing wise, it may be a disadvantage. But the fact is, once we sign, the label will have found a group that has taken the time to find its sound, and not been afraid to try different things. In the long term, that’s going to lead to better music being made for us and for our fans.
Ed Hale: Honestly I think they do find it confusing. But we do what we do because that’s what we do. I don’t think it makes it tougher to connect to our audience. But yes maybe for the labels at this time it is a little daunting because they can’t nail us down as far as how to market us. But artists are always changing it up and creating new art if they are real artists. That’s the nature of the art of being an artist so to speak. That’s what makes artists like the Beatles or Madonna great artists. In Transcendence you got a band of five very hyperactive, entirely obsessive, relatively insane guys with a severe case of ADD and an extreme passion for music all running around trying to make sense of everything they are listening to and wanting to create as their own personal artistic statements. And so the chances of that translating into any two albums sounding remotely similar is going to be pretty slim.
Fernando Perdomo: David Bowie- Hunky Dory- Bowie the Softie. Space oddity- Bowie the Freak. Ziggy- Bowie the alien. Low- Bowie the euro freak. And then Pinups, Bowie the cover band guy.
Ed Hale: As an example, roger is currently in a deep infatuation with traditional Mexican Bachata music. Fernando is obsessed with early eighties Gino Vanelli, for some weird reason. And obviously overly long analogies… and I am having a deep and meaningful love affair with the entire Metallica catalogue, while Bill is digging into all the current college and indie bands that are big right now. So our new album, not the one coming out this month, but the one we just started to record for release next year is bound to sound a bit different than Nothing is cohesive to say the least. That was the point of us calling the new CD Nothing is cohesive . It was our answer to all these calls for us to sound the same all the time. It just isn’t going to happen. They’re going to have to fuck off if they keep asking us to fit into some particular style.
Fernando Perdomo: O.K. One more… Britney Spears. Baby One More time – Poppy princess Britney. Oops I did it again – Poppy princess Britney. Britney Spears next album – Poppy princess Britney. Who would you rather us be like?! Nuff Said!!!
Lee Zimmerman: What’s the strategy from here on guys?
Roger Houdaille: Focus on touring the States and move on to Europe successfully.
Ed Hale: Carry the water and plough the fields man. I love these guys like brothers and I miss them when we aren’t together for even a day. So the strategy is just to try to stay together for as long as it feels good and to keep on trucking. Making our little artistic statements together and performing live for people as often as we can. And hopefully we will find a way to get a good meal in our bellies now and then.
Bill Sommer: Not to be as philosophical as Ed, but we need to stay on the road, bring the music to the people, and have them love it. Then they run to their local cd store to buy a handful of transcendence CD’s.
Fernando Perdomo: Look good and sound great!
You asked for it, you got it. After some serious editing, overhaul, and re-design, the Transcendence Diaries are back. Pictures and songs are still being uploaded but the text is all caught up. Talk about blogs! Lets just put it this way… enter at your own risk… TTV takes no responsibility for the content of the diaries and no we don’t have any idea who Fishy is. Click on the Diaries link on the homepage or on The Adventures of Fishy channel. They are both the same now. Happy reading!